With releases on the Codes and Tectonic labels, and a foundational member of the Project 13 contingent, Acre is fast becoming one of the UK’s most distinctive young producers. Probing the depths of fwd music, a slew of Grime, Jungle + Techno rush through his productions – though he never rests on one, instead tying the peripheries of each together into a fractal paradigm of the UK underground and an exploration of vantablack futuristic sounds.
His debut album ‘Better Strangers’ landed on Tectonic in 2015 after a string of split 12” appearances alongside Filter Dread, FIS and Hodge. The seemingly impossible jostle between melted discordant Sublow, hyper ATL hit-hats, hydraulic crashes, 8-bit leads and whispers of melancholic R&B received widespread acclaim (Fact Mag’s #13 album of the year), and in 2016 the enigmatic South Mcr reared producer hasn’t looked like slowing down.
Already setting the tone for the year with his new monthly show on NTS with P13 and his first Japan tour completed, expect Acre to continue throwing his hybrid depth charges from the shadows as the year continues.
Afrikan Sciences (Eric Douglas Porter) stands solidly as one of the most innovative producers to surface in recent times. Affectionately titled the Rhythm Czar, Porter has steadily become one of the most well respected creators in Electronic music. Once described as the love child of Afrika Bambaataa and science-fiction writer Octavia Butler, the grandSun of Ra, Porter’s production has always crafted a marriage between various forms of music and sci-fi with an emphasis on freedom in tempos and meter. An accomplished DJ/Live Performer, his repertoire ranges from nu-soul, free jazz to experimental electronic orientations, appearing in venues like the BlueNote(NY) ,Jazz Cafe(London), Prince Charles(Berlin),Jazz House(Copenhagen), Nublu(Istanbul), and Boiler Room TV. Porter has released 4 benchmark albums, transcending jazz, techno and hip hop with pineal Afro-futurist vision. Porter is always exploring new ways to bring feeling and unique expressions into the electronic realms. Liberating perceptions by offering a positive vision of how relations between modern rhythmic music and African-American history can be highlighted and explored artistically.
Originally formatted in 1945, AUDINT currently consists of Toby Heys and Steve Goodman/Kode9. Drafted into the research cell in 2009 by IREX2, they have been directed to investigate the ways in which ultrasonic, sonic, and infrasonic frequencies are used to demarcate the soundscape and to subsequently perceive how their martial and civil deployments modulate psychological and physiological states. The information garnered from this research is subsequently utilised to enact installations, performances, books, and films.
AUDINT’s multi-sensory installations employ Unsound Systems (directional ultrasonic speakers, bespoke sub woofers, and wearable vibrating SubPacs) in dark humid rooms. Integral to each work is the Dead Record Archive – a chronicle of events, songs, books, scientists, historical figures, technologies, films, laws, etc that pertain to the ways in which frequencies psychologically and physiologically affect humans. This illustrated archive is composed on the insides of vinyl record sleeves. In this way AUDINT use and amplify the other side of sonic culture – the side of the record usually kept in the dark – music as a weapon. Installations have been carried out at venues such as – The Academy of Art in Berlin, Art in General in New York, the Unsound Festival in Krakow, and the Museum of Contemporary Art in Herford (MARTA), Germany. Performances have been done at Transmediale, Berlin, The White Building, London, and the New Forms Festival, Vancouver.
Their first book (‘Dead Record Office’) and vinyl record (‘Delusions of the Living Dead’/’DRNE Cartography’) are released together on AUDINT Records in the same limited edition triple gatefold package called ‘Martial Hauntology’ which also contains 6 large colour prints. By recounting the history of AUDINT since its inception, the book investigates deceptive frequency-based strategies, technologies, and programs developed by military organisations since 1944 to orchestrate the spectral phenomena of a haunting within an area of conflict. Instances of this frequency-based haunting of the battlefield include – World War II when the U.S. military’s Ghost Army pioneered speaker based deception techniques and apparatus; the Vietnam War in which the U.S. military deployed ‘Wandering Soul’ (‘Ghost Number 10’) tapes that imitated the voices of dead Vietcong fighters from helicopter mounted speaker units; and in Guantánamo Bay, where detainees who were legally dead yet biologically alive were tortured by Death Metal music.
New sonic and written instalments of the AUDINT’s archive will become available through AUDINT Records over the coming years. A 30-minute animated film based on the ‘Dead Record Office’ book is meanwhile in production as is a cassette release for the Reel Torque label out of Manchester.
Timedance owner, Batu has carved out a unique sound in a shockingly short space of time since his debut with Pinch’s Cold Recordings in 2013. Subsequent 12″s for Hotline, Pev & Kowton’s Dnuos Ytivil in 2013 and Beneath’s Mistry have found him grounded in Bristolian bassbin principles yet pushing that prism in wild, crooked new ways that have become something of a signature aesthetic.
This RBMA mix and interview will bring you up to speed with Batu’s groove, which just finished snaking its way across the USA in the wake of high praise from RA for Timedance 003 – inc. a killer Lee Gamble remix – on his homegrown label, who’ve just announced a superb new Lurka 12” due ahead of releases from the cream of the Bristol new class in 2016.
London’s Beatrice Dillon is a producer, composer and NTS DJ with two EPs on Where To Now?, two albums with Rupert Clervaux, collaborations with Kassem Mosse, plus acclaimed mixes for The Trilogy Tapes, Wichelroede (with Ben UFO) and Blowing Up The Workshop to her credit. She has collaborated internationally with visual artists producing sound and music for film, installation and performance at Southbank Centre, ICA, Tate, Barbican, Nasher Dallas, Center of Art Geneva, MONA Tasmania amongst others. Beatrice’s mixes are an esoteric antidote to orthodoxy, tracing the fringes and the vaults for sounds lesser heard, from wayward techno to vintage Folkways. She was selected for Sound and Music’s portfolio scheme in 2014 and Wysing Arts Centre’s artist residency in 2016. She recently performed an improvised b2b live set with Kassem Mosse at Borealis Norway. Beatrice’s remix of Helm’s ‘Olympic Mess’ was released in June on PAN.
A fiercely competent young DJ who blows away any room she plays, Cõvco is by far one of London’s most original and exciting DJs. Her sets combine a hi-energy mix of footwork edits and experimental dance music which often result in a frenzied dance floor experience. With recent explosive sets at the likes of London’s Tropical Waste parties and after party for the PAN ICA show, as well as a much anticipated set supporting RP BOO in London, Cõvco has an exciting year ahead.
Europe, UK, Asia, Australia: firstname.lastname@example.org
A project heavily inspired by William Bennett’s fascination for Haitian vaudou, deploying Central African percussion in radical new ways, generating an intense sound unrivalled in its physical and emotional intensity. The name was derived from the song Cut Hands Has The Solution by his original Whitehouse project. 2011 marked the Cut Hands debut release, the critically acclaimed and best-selling Afro Noise I album, since followed by Black Mamba on Blackest Ever Black in 2012, and 2013’s incredible Madwoman on Downwards. The distinctive Cut Hands art aesthetic and design is provided by vévé artist Mimsy DeBlois, whose amazing paintings feature on several Cut Hands covers and live posters. Cut Hands music has also featured in many films including Siberia: Krokodil Tears (2011), Inside Syria (2011), Kings Of Cannabis (2013), Snoop Dogg’s movie Reincarnated (2012), and Julien Temple’s Glastonbury (2012).
The first show was in the earliest days of the legendary Cocadisco club in London’s West End, run by Piers Martin – Cocadisco, with the help of DJ Benetti, pioneered the Italo disco revival in London since then Benetti has performed sets at festivals and clubs regularly all around the world: Japan, Australia, USA, Germany, Poland, Italy, Ireland, and many other countries – in the UK also at Bloc, Faktion, CUM, Optimo, Cry Parrot, Cocadisco, Zazou, ItaloBlack, Juicy?, and many others.
FATTI (despite some grains of truth of course the following is all fun nonsense because Benetti is a totally made-up character)
Who is Benetti? Some ‘facts’ from his ‘bio’:
– first gig at a Mafia-controlled pizza restaurant in Vigevano (Northern Italy) in 1980
– owns an enormous collection of rare Italo CDs and vinyl, filling three huge rooms and a basement in his house
– a cognoscento in making a special aphrodisiac spaghetti a la slinguata
– big in China, especially in cities like Shanghai and Hang Zhou (where he lived for 18 months as paid guest of the Communist town council)
– during a big Eurobeat party in Byelorussia last October he was playing at to 2,000 people, some visiting army recruits from the local garrison started firing guns into the ceiling and literally brought part of the roof down
– DJed at a katoey bar, Soi Cowboy, in Bangkok for two months before falling out with the local police force over unpaid bribes for live sex shows
– did a set of rapidissimo para para in Roppongi (Tokyo) which got out of control when a large group of teenage girls got assatanate and started stripping to Delta Force’s Bang Bang and Lolita’s Cherry Girl
– spends more than 50% of his income on his beloved D&G clothes and accessories
Endgame is a producer and DJ based in London, Hyperdubs most recent signee. His densely layered sound emerges from the cold ashes of grime. Combining corrosive melodies and artillery like percussion, with reference to dancehall, tarraxo, and drill, but skewed an contorted into a genre in an of its own.
He released his ground breaking debut EP ‘Endgame’ on Portuguese label Golden Mist (2015), followed by the breathtaking ‘Savage’ on New York’s Purple Tape Pedigree (2016). In July 2016, Endgame joined the Hyperdub family, releasing his latest EP ‘Flesh’, a fierce statement of intent that pulls apart club music’s component parts and propells them into a new era.
As founding member of Bala Club with Uli-k, and Kamixlo, and as the host of Precious Metals, a bi-weekly show on NTS for the last 5 years, Endgame has focused on acceleration and experimentation. Helping define a new sound for London, that resists categorisation, and reflects the global exchange of sounds, rhythms and styles.
Europe, UK, Asia, Australia: email@example.com
Berlin’s Errorsmith has been a respected figure in Germany’s club scene since the mid ‘90s. Through his own releases and his collaborations as part of MMM (with Berghain resident Fiedel) and Smith n Hack (with Soundstream/Soundhack), Errorsmith plays with the boundaries of dance music genres for an openness leading to new rhythmic and sonic shapes. Rooted in the club, his music is crafted with an ear for experimentalism, making for some deliciously intriguing physicality. His DJ mixes share a similar philosophy, disregarding genre norms in favour of body-moving eclectic musicality. Renowned for his popular synthesizer plug-in Razor, developed for Native Instruments, his self-built software instruments form the basis of both his productions and live sets. Some 20 years into his career, 2015 has seen Errorsmith release a new collaborative 12” with Mark Fell via the PAN label and more to come.
Roc Jiménez de Cisneros and Stephen Sharp make computer music for hooligans and deconstructed rave objects. Their music has been published on record labels like Entr’acte, Editions Mego, Presto!?, fals.ch or their very own ALKU, and showcased at festivals, clubs, galleries and museums throughout the world. EVOL recordings, installations and performances have a unique approach to sound matter, full of upward spirals, trance inducing patterns and challenging temporal structures.
Recent works include the LP “Proper Headshrinker”, published by Editions Mego, “Something Inflatable”, released on ALKU, a classic acid mix for iDEAL, and cassettes for Last Foundation and Sludge Tapes. They are currently working on stuff for Diagonal, Presto!?, BUS, Romvos, and Khalija.
Having survived playing in several metal bands in the early 90’s, GH (Gary Howell) was involved in various electronic/experimental projects before forming Pendle Coven with Miles Whittaker and releasing their debut EP in 2003 for Modern Love. Howell has remained an integral part of the label ever since, releasing his debut solo endeavour as G.H – the ‘Ground’ EP – in 2011. Despite a sparse and considered approach to both production and live work, G.H has made notable appearances at various high profile shows at Berghain, for a Boiler Room special and, most recently, for Richie Hawtin’s ‘Enter’ night at Space in Ibiza. G.H also continues an occasional collaborative project with label mates Andy Stott and Miles Whittaker as part of the HATE soundsystem, and is currently working on new G.H. material due for release on Modern Love in the near future.
Gage’s ferociously lit debut, the Mercury EP for Crazylegs, is firmly established as one of 2016’s incendiary entrances. Recently transplanted from Bristol to Manchester, Gage’s take on grime, ballroom and techno has emerged at a thrillingly urgent new juncture of British dance music and deadly-focussed sound design.
His prowess has been steadily growing over the last few years via link-ups with vogue-house lynchpin Kevin JZ Prodigy and remixes for Inkke, Mr. Mitch, and dJJ, to the point where his music now offers terminal escape velocity for a swelling grime scene that’s too often overly self-referential.
Helena Hauff is a DJ and producer from Hamburg, Germany, where she runs a club night called Birds and Other Instruments at the Golden Pudel Club. Helena’s sound as a DJ can’t be nailed down as she cuts between genres with ease. Dirty Acid, Chicago, Electro and Wave mixed in an obsessive way, as you can hear on Blackest Ever Black’s sub label Krokodilo Tapes, where she released a limited edition mix tape, ‘Obscure Object’.
As a producer this obsessive nature comes across in the intensity of her music. This can be seen in her releases that have been on Actress’s Werkdiscs imprint, and Bunker offshoot, Panzerkreuz. In addition, she is half of ‘Black Sites’ along with F#X, who have also seen a release on Panzerkreuz as well as PAN
Helena is available for DJ bookings and also live as Hypnobeat.
Hypnobeat Rooted in the concept of a “neo-tribal” approach; reducing electronics to the emotional, hypnotic rhythm core, James Dean Brown founded Hypnobeat in 1983. Affected by the energy and the emotional impact of polyrhythms, their live sets turned out to become machine improvisations centered around the inimitable sound of the Roland TR-808 plus a wide range of analog gear including up to six synchronized rhythm machines. Active contributors to the tape scene of the 80’s, two retrospective Hypnobeat vinyl albums are planned for release in 2014 on Serendip and Dark Entries.
In 2012 Hypnobeat retransformed from its successor Narcotic Syntax (Perlon) with an exclusive live solo performance of James Dean Brown in Paris. Now 2013 sees the exciting new evolution of Hypnobeat with Helena Hauff joining the project. Available for live shows consisting of 1 x TR-707 + 3 x TR-808 + 1x TB-303 + an array of effects, Hypnobeat (James Dean Brown + Helena Hauff) is resurrected.
Helm is Luke Younger, a sound artist and experimental musician based in London, working with a vast array of revolving instrumentation and abstract sound sources. Younger’s compositions build dense aural landscapes that incorporate elements of musique concrete and industrial music alongside hallucinatory drones and various acousmatic phenomena. Instruments morph into spectral rust, a shimmering klang swims alongside passive noise and the relationship between acoustic and electronic derived sounds forms a solid foundation.
To date, he has produced three full length albums; the self-released debut To An End, in 2010, Cryptography on Graham Lambkin’s (The Shadow Ring) KYE label in 2011 and 2012′s Impossible Symmetry beginning an ongoing collaboration with Bill Kouligas’ PAN label. 2013 and 2014 saw the release of two new EPs, Silencer and The Hollow Organ which were both well received by press and fans alike. Helm has developed an increasingly busy worldwide touring schedule also, sharing stages with artists as diverse and disparate as William Basinski, Destruction Unit, Cut Hands, Joe Colley, Amen Dunes, The Haters, Wild Classical Music Ensemble, Oneohtrix Point Never, Iceage, Tony Conrad, Terror Danjah, HTRK, Lee Gamble, Kevin Drumm and many more.
TIMELINE OF “NOTABLE” / MEMORABLE EVENTS (AS OF JULY 2014):
2010 – Self released the To An End album giving birth to the Alter label. First concert opening for Graham Lambkin and Call Back The Giants at Cafe Oto, London.
2011 – Cryptography released on Graham Lambkin’s KYE label. Full page interview in the Wire Magazine, issue 333. More concerts with Mark McGuire, Oneohtrix Point Never and an extensive European tour with Elg and Tomutonttu. Cryptography makes the Wire Magazine’s top 50 albums of 2012.
2012 – Start the year with the first seated performance on the Boiler Room. Impossible Symmetry released on PAN with a video for album track Liskojen Yo made by friend Simone Trabucci (Hundebiss Records / Dracula Lewis). Geneva Cave cassette released in a micro edition on Hospital Productions. Performance at De La Warr Pavilion for the closing event of Cerith Wyn Evans’ exhibition – leaves equipment in a taxi at the end of the night, gets it back 25 minutes later. More concerts in the UK and Europe, including performances at OutFest (Portugal), Berghain (Berlin) and Unsound Festival (Poland). Finish the year with another Boiler Room appearance, though this time it was done standing up.
2013 – European tour with Tropa Macaca. First appearances in Scotland – Dundee, Glasgow and Edinburgh. PAN showcase tour of Switzerland and Italy with Lee Gamble and Bill Kouligas. Noisefest at De Kruen, Kortrijk. A concert with Helge Sten and others in Stavangar processing an extremely large and expensive organ to 5 people. Invitation to perform alongside the artist Charles Atlas at the Tate Modern for one of his multi channel video works. The event sells out and a recording of the performance later appears as a cassette release on the Where To Now? label. More concerts; Arnolfini in Bristol, Live Arts Week in Bologna, Donau Festival in Austria, Stubnitz. First attempt at conquering America at the PAN fest in NYC and Boston. Silencer 12″ EP is released on PAN and Alter. A few more festivals including Bozar Electronic (Belgium), Semibreve (Portugal) and Soy (France) and three gigs slumming it in the UK with Destruction Unit. 6 page feature in the Wire Magazine covering Helm and Heatsick rounds off the year.
2014 – Another 12″ EP, The Hollow Organ released on PAN. Shattered Miniatures cassette released on Ascetic House. USA and UK tour with Damien Dubrovnik. Lyon and Amsterdam. A fantastic meal in Vittorio Veneto with Nico Vascellari and friends, followed by a performance his Codalunga venue. More time in the USA again. Performances at Fasma Festival (Athens), Monotype Festival (Warsaw), Norberg (Sweden), Atonal (Berlin). Recording of the fourth album begins, decides to write an events timeline for the project in the third person.
Actve since 2007, Jesse Osborne-Lanthier is a Montreal-born Berlin-based multdisciplinary artst and musician focused on incitng alternatve cognitve responses via mixed sonic material. Lanthier’s collaboratve aliases include Femminielli Noir with Bernardino Femminielli, The H with Francesco De Gallo (Hobo Cubes) and ongoing collaboratons with labels such as Where To Now?, Halcyon Veil, MIND Records and raster-noton. Interested in making music and art to substantate and archive his various moods, thoughts, politcal views and current (…sometmes fleetng) interests, his focus is to create an abstract memory of himself that he can engage with; to understand and evaluate the ongoing interactons between tme, ideas and identtes, both in common and private areas. Unlimited by musical genre and the confnes of musicality itself, Lanthier’s sound operates through contrasts: from subtle to textured, from structured to fluid, from symphonic to dissonant, from minimal to intricate, his works are at once present, futuristc and imtemporal. He creates hybrids of languages through the use of current technologies and techniques, maintaining a taste for intensity as a tool for immersive engagement.
In 2014 Osborne-Lanthier released ‘Otherwise Insignifcant Psyche Debris’, an album comprised of 22 live recordings from the course of the past few years, as a cassete and digital download via labels Hobo Cult and MIND Records. Focused on the concept of dispositonal emotonal regulaton, the body of work deals with acceptance, avoidance, problem solving, reappraisal, ruminaton, and suppression. It contains remixes by Grischa Lichtenberger (Raster-Noton, Semantca), Vereker (L.I.E.S.), Hobo Cubes (Debacle, Where To Now?, Digitalis, Opal Tapes), VNDL (Kvitnu, Hymen), and Robert Lippok (To Rococo Rot, Raster Noton) and was mastered in collaboraton with Vladislav Delay. It acts as the “exaggerated and terminal” follow-up to the collecton ‘Athenaeum of Unedited, Superannuated, Incomplete, Unreleased, Intmate Works 2011-2013’, a selecton of more rhythm-oriented pieces, again taken unedited from the main front-of-house mixing boards at his shows in Montreal, Berlin, Barcelona, and Notngham. Osborne-Lanthier has assisted in the producton of many albums including multple Where To Now? releases and Maurizio Bianchi’s ‘The Mind Is An Ancient Capital’. He has toured America and Europe on many occasions, performing at festvals such as Mutek, Elektra, CTM and FASMA. His audio and visual works have also been featured in museums, galleries, clubs, venues and studios such as the Musée d’art contemporain de Montréal, The Notngham Contemporary Museum, Natonal Gallery of Canada, La Pette Mort, São Paulo Museum of Image and Sound, NK Berlin and EMS Studio Stockholm. Jesse is currently prepping releases for pioneering experimental pop king-pin label raster-noton and Rabit’s rapid ground-gaining Halcyon Veil imprint.
Kamixlo’s music lies at the riveting, emergent edge of grime, reggateon and experimental bass dimensions. The London-located producer’s Demonico EP with Visionist’s Codes X Pan marked out bold, unique new territory between established poles, a sound which he’s key in fostering at the Bala Club events and with his NTS show, which will soon be showcased on the forthcoming Bala Club compilation + a second solo EP.
At the crux of new club movements lead by pan-latin diaspora artists, Kamixlo’s music been compared and aligned with Berlin’s boundary-pushing Janus Club sound, who in early 2016 shared a 2 room event with Bala Club at Corsica Studios feat. M.E.S.H., Total Freedom b2b Sami Baha, Uli K, Chino Amobi and Nkisi, a.o.
Keith Fullerton Whitman
Keith Fullerton Whitman is a musician currently based in Cambridge, MA. Starting in the mid-1990’s while working on a “Music Synthesis” Degree at Boston’s Berklee College of Music, Keith began exploring electronic music’s many facets, eventually yielding dozens of full length albums, singles, remixes, and compilation appearances for influential labels such as Kranky, Editions Mego, PAN, Planet µ, Carpark, Room40, Amethyst Sunset, Amish, NNA Tapes, No Fun Productions, Agents of Chaos, Arbor, Digitalis Limited, Ekhein, Heavy Tapes, Rare Youth, Root Strata, and many more.
These days his creative energies are largely put into the continued development of a truly “Live Electronic Music,” incorporating an ever-changing hardware-based modular system that allows for a complexity of sound & vision that had previously only been available via software-solutions. While this work has recently manifested itself as a pair of albums for Editions Mego entitled “Generators” & “Occlusions,” it’s largely intended for the stage.
Over the past 15 years, Keith has given over 500 performances of his music – everything from solemn held-tones to pointillist reckless-abandon – at venues ranging from “Punk” basements to some of the most celebrated European & North-American festival stages such as Akousma, CTM, Dissonanze, Electronica En Abril, Kontraste, LUFF, Mutek, Novas Frequencias, Présences Électroniques, Skanu Mesz, Sonic Acts, Suoni Per Il Popolo, Unsound, Werkleitz, etc. In addition, he has given dozens of talks, taken part in Colloquia, set up fIlm & audio installations, and organized music festivals, concerts for other performers, and film events in the Boston area & beyond.
He has collaborated both on stage and on record with Oren Ambarchi, Rhys Chatham, Tony Conrad, Greg Davis, Deerhunter, JD Emmanuel, Lawrence English, Mark Fell, David Grubbs, Michael Karoli & Malcolm Mooney (Can), Eli Keszler, Felix Kubin, Alan Licht, Matmos, Geoff Mullen, Benjamin Nelson, Charlemagne Palestine, Terry Riley, Ben Vida, and countless others. He is also known for his performances and realizations of works by composers such as Phill Niblock, Dick Raaijmakers and Conrad Schnitzler. He has composed for dance, and his music has been set to motion by choreographers & dance ensembles including Chantal Yzermans (at the Merce Cunningham Dance Studio,) the Andersson Dance Company, and the NYU New Music and Dance Ensemble. He has supplied music and sound-design for several video game & “music for picture” projects, advertisements, and assorted environments.
A 2011 joint commission from Sonic Acts, Kontraste Krems, and Le Groupe de Recherches Musicales (GRM) led to a week-long session in the fabled INA-GRM studios in Paris, during which Keith realized a life-long dream, completing an 80-channel, long-form Musique Concrète work entitled “Rythmes Naturels” utilizing many of the idiosyncratic early-electronic instruments held in the studio’s archive.
Since 2003, in his spare time, he has helmed a highly specialized experimental-music distribution company out of his studio / office / work-space in Porter Square, Cambridge, MA named “Mimaroglu Music,” charged with helping labels & artists all over the world with the preparation & dispersion of their tangible music artifacts. Prior to this he was the Sales-Manager of noted New England distributor Forced Exposure, for whom he personally penned hundreds of “capsule” descriptions of catalogue new-arrivals – a tradition he keeps alive to this day with Mimaroglu.
Klein is a lowkey force to be reckoned with. A liveset on Tabitha Thorlu-Bangura’s first NTS radio show of 2016 preceded a video for ‘Arrange’, shot in parts in a blood red monochrome bedroom and taken from her debut album ‘ONLY’. The latter stage of the track courses through with off beat filtered percussion leading up to the “that heavy bit coming up”; awash with hums as the London based artist surfs the melodies of the introduced lighter tones. On ‘gaz city’ she nails in a mention of ‘WORTH’ before torching preconceptions of what fits inside what box with her singing, similar to her irisdescent adlibs on ‘babyfather chill’; a reference to Dean Blunt’s alias. Other influences range from brandy to kirk franklin. Hard to place, her capacity to surprise (even with one LP out so far).Not every artist is unique enough to change a landscape, or has to do be successful. However, with Klein, you get the sense she’s already made a head start on both. . In Bieber words ‘shes the fucking one.’
Birmingham-raised, London-based Lee Gamble is a producer and DJ of exploratory electronic/dance music, and owner of the UIQ label. From roots as a teenage DJ rinsing state-of-the-art jungle on pirate radio, Lee explored the mechanics and dimensions of computer music, avant composition and noise in the ’00s with a series of abstract, sculptural releases and live improvisational and multichannel presentations. For the Entr’acte label, he released – ’80mm O!I!O’ , and the ‘Join Extensions’  album, amongst collaborations with artist Yutaka Makino (SPLIT – 2010) and improvisations with contemporary composer John Wall.
Subsequently, he tracked back to the floor from an oblique angle with the ambient-techno / jungle deconstructions of two defining releases for the PAN label – ‘Diversions 1994-1996’  and ‘Dutch Tvashar Plumes’ , the latter of which was hailed as FACT Magazine’s ‘Best British Album’ in the ‘Alternative Brit Awards 2013’. In the following year Lee issued his most expansive records to date with the ‘Kuang EP’  and ‘Koch’  album, which both pursued a more nuanced perspective on dancefloor states and conventions – also found in Lee’s remixes and work for Mount Kimbie, Special Request, Indie guitar band ‘Sunns’, Amon Tobin and Hyperdub. In 2016 Lee dropped his first 12” for his newly minted UIQ label ‘Chain Kinematics’ which as Pitchfork suggests “..utilizes the incommensurate speed of jungle to highlight the meditative quality of an ambient track”
Lee has toured extensively over four continents, playing an hallucinogenic live A/V show with collaborator Dave Gaskarth at festivals such as Unsound, CTM, Sónar and ATP, Mutek as well as regularly DJing, both solo and often b2b spinning house and techno with L.I.E.S.’ Ron Morelli. He also hosts a monthly NTS radio show, and in 2014 produced the Hyperrealist Absurdist Psychodrama, ‘Your Sociometric Afterlife’ exploring the ‘The Illusion of Death’. Most recently he conceived the UIQ label as an open-ended portal for records by other artists who resonate with his own music, somewhere in the noumenal realm between waking life and dreamstates.
Logos is another pillar of London’s Boxed prism, as well as a celebrated solo producer/DJ, and is also known as 1/3 of the cyberpunk-inspired trio))) The Sprawl, alongside Shapednoise and Mumdance, with whom he runs the Different Circles label and club events.
Across releases for Keysound Recordings, Tectonic, Glacial Sound and his own label, Logos’ productions persistently recall the lush sci-fi darkness and space of late ’90s Metalheadz and Reinforced records, whist isolating and augmenting the mechanics of esque-y instrumental grime and early, ‘ardcore rave in a style he aptly terms Weightless.
In 2016 we hold hopes for a follow-up to the below-kelvin cinematic sound designs of his modern classic Cold Mission (2013) album and the rugged rollers of last year’s Proto collab with Mumdance. Whilst we can confirm or deny nothing at this stage, it’s safe to say that new material is necessary, if not in-progress already for Different Circles, following more recent remixes of M.E.S.H and Mr. Mitch.
Europe, UK, Asia, Australia: firstname.lastname@example.org
Tireless investigator of dance music’s mechanisms and working parts, and head of respected experimental label Presto!?,the Italian musician produced one of the last couple of years most unique albums “Quantum Jelly” (on label Editions Mego).
An amazing deconstruction of sound and rave culture in the 90’s, carefully analyzing it’s constituent parts for reuse in avery different context, with repetition and isolation as key concepts.
His work explores the idea of the “buildup” found in euphoric dance music as a starting point to make a non-uplifting,more introspective piece that implicitly preserves its emotional tension and drama.
The music often begins with one simple idea or musical pattern, forcing it into a sonic spiral of percussive, endlesslycontagious, arpeggiated melodies.
Lorenzo Senni, who coined the term “Pointillistic Trance” to describe his approach on Quantum Jelly, is described as a sadistic scientist that is ripping the spinal cord out of trance and dangling it in front of our eyes. Critically acclaimed “Quantum Jelly” was 10th on Boomkat TOP100 of 2012, 34th on Fact TOP50 releases of 2012, 7th on DEBUG November 2012 Chart. With his side project STARGATE, released on the italian Hundebiss, with “Hexplore Superfluidity”
and played almost 30 gigs around Europe in 2013.
Lorenzo Senni is also part of the power-trio One Circle along with
Vaghe Stelle & A:RA. In September 2013 they released their first Ep on Left_Blank, and a new work on Italo-berlinese G.O.D. named “Transparency”.
New album “Superimpositions”, released Sept-2014 on Boomkat Editions, was on Fact Magazine TOP 100 RECORDS OF THE DECADE [so far].
As founder of Presto!? Records, he has released albums by a number of internationally acclaimed artists including Florian Hecker, Carsten Holler, DJ Stingray, Carl Michael Von Hausswolff, Palmistry, EVOL, Marcus Schmickler, just to name a few.
He has composed music for Cinema, Theater and the soundtrack for last Yuri Ancarani award-winning movie “Da Vinci”, showed at 55th Venice Biennale – Best international short film ” @RIDM – Montreal – Award for Most Technically Innovative Film at ANN ARBOR FILM FESTIVAL 51st EDITION. He also wrote music for R’n’B singer Tom Krell aka How To Dress Well new record out on Weird World (Domino)
Lorenzo Senni played international festival CTM 13 Golden Age, SONAR 2013 20th Anniversary , Unsound, Club To Club, Donau Festival, has exhibited his work and carried out performances at Centre Pompidou (Paris), Casa da Musica
(Porto), Auditorium Rai (Torino), Auditorium Parco della Musica (Roma), Donau Fest (Krems), Berghain (Berlin), SPACE (London), Gasconade (Milan), Zabludowicz Foundation (London), C2C (Turin), Schinkel Pavillon, S.M.A.K. (Ghent), ICA (London), Eletronika Festival (Brazil), MACBA (Barcelona).
Europe, UK, Asia, Australia: email@example.com
As a co-resident of Berlin club night Janus, M.E.S.H. has been constantly active bringing fragmented rhythms to the dancefloor and refiguring club dynamics on records such as Share The Blame and Scythians. His debut full-length, Piteous Gate, was a bold step forward, leaving behind much of the dance-informed elements of his previous work and creating an unpredictable, sometimes frightening album of oblique, theatrical sound-stages. Violent cinematic effects enshroud ornate, virtual-acoustic instrumentation, with an eerie calm ebbing beneath the flux — a sense of shocked ambivalence.
Europe, UK, Asia, Australia: firstname.lastname@example.org
Mark Fell is a multidisciplinary artist based in Sheffield (UK). After studying experimental film and video art at the local polytechnic he reverted to earlier interests in computational technology, music and synthetic sound. In 1998 he initiated a series of critically acclaimed record releases, featuring both collaborative and solo works, on labels including Mille Plateaux, Line, Editions Mego, Raster Noton and Alku. Fell is widely known for combining popular music styles, such as electronica and techno, with more academic approaches to computer-based composition with a particular emphasis on algorithmic and mathematical systems. His recent musical practice has become increasingly informed by non-Western musics, this is evident in two linked works “Multistablity” and “UL8” which explore a number of unfamiliar timing and tuning systems. Uncut magazine called these “completely mind-blowing” and the Wire magazine said these were “amazing”. As well as recorded works Fell produces installation pieces often using multiple speaker systems. Although well versed in the use of ambisonics, his work in this area is characterised by ‘non-illusion based’ approaches where multiple waveshapes are spatially distributed to form complex synthetic sonic environments. The diversity and importance of Fell’s practice is reflected in the range and scale of international institutions that present his work – from large super clubs such as Berghain (Berlin), to Hong Kong National Film archive and many others. Fell has received commissions from prestigious institutions including Francesca Von Habsburg’s Thyssen-Bornemisza Art Contemporary (Vienna) with a premier at Seville Biennale of Art, and the National Ballet of Madrid have performed to his works. He has been recognised by ARS Electronica (Linz) with an Honorary mention in the digital musics category, and was shortlisted for the Quartz award for his contribution to research in digital music. In addition to his creative practice Fell has been involved in a number of academic research projects ranging from computer science to musicology, and as a curator Fell is widely recognised for his contribution to the development of experimental electronic music in Europe.
Miles Whittaker has been releasing material on Modern Love for over a decade, first as one half of Pendle Coven, then on his own as MLZ (now just Miles), and eventually pairing up with Sean Canty to record as Demdike Stare. In between he’s headed down more experimental terrain under the Suum Cuique moniker, produced Jungle for the HATE project and (together with Andy Stott) taken on the occasional release as Millie & Andrea for Modern Love sublabel Daphne. He is also an admired, exhilarating DJ, his sets have been known to span a broad spectrum of electronic music, from the obscure UK techno of labels like Radioactive Lamb and Irdial, to classic Chicago House, Detroit Techno and – most importantly – early 90’s jungle and breakbeat, feeding into his love of the most uncompromising end of the Italian experimental movement, Musique Concrète, Synthwave and contemporary Noise.
- Millie & Andrea
Sound artist Martins Rokis a.k.a N1L made one of 2015’s most striking debuts with the Wrong Headspace EP’s light-and-time-bending alien dance music for Lee Gamble’s UIQ label. As N1L, Rokis intersects computer music and dancefloor vectors, exploring perceptual predilections through the sensual immediacy of abstract sound design.
His work has largely been realised for gallery installation and multi-channel A/V performances,but most recently converted into a form of live performance pressure that perfectly translates to the dancefloor. N1L is primed for club, gallery or installation bookings.
“Listening to the music of N1L is at times like staring into a vast, bleak expanse where time moves ata different rate to the rest of the world. N1L’s music feels stretched and compressed in equal measure, combining nostalgic traces of 90s techno, jungle and rave into something that sounds like it’s been torn from another era and warped in the process.” – FACTmag
As co-founder of NON Worldwide, whose raison d’etre is described as “a collective of African artists and of the diaspora, using sound as their primary media, to articulate the visible and invisible structures that create binaries in society, and in turn distribute power”, Nkisi’s ethos and music is imbued with a certain punk sensibility along with a political push back against conformity. Her DJ sets draw from a wide range of influenced forming a fast paced and exhilarating experience in the dance. Her production reflects deeply in these influences also and provide a sound that is equally relentless and evocative.
Europe, UK, Asia, Australia: email@example.com
Palmistry is the project of London-based musician Benjy Keating. A vocalist and producer with a singular vision and voice, Palmistry makes hybridized pop music that is both distinctly new and yet, like the best songwriting, sounds instantly familiar. As the producer, writer and performer of his debut LP, PAGAN is a succinct showcase of his holistic approach to contemporary pop, where melancholy and euphoria share equal space and sonic decisions resonate as much as the emotions that run through it. Beyond the music, Palmistry gives us a multi-layered experience – working alongside talented collaborators to build his own visual world through artwork, photography and film.
Project 13 label showcases: Acre, Divided, Szare
Comprising Acre, Divided and Szare, showcases play to the label’s various, rugged strengths in forging vital new binds between classic grime, techno brutalism and mutant forms of footwork and electronica, cut and rolled for all-night raving.
Acre you know already; but London’s Divided is quickly coming into his own amongst mongrel, shadowy techno zones with a 12″ on the Resin label, and, more recently a pair of bass-heavy bullets for P13 including the demonstrative Black Swallower / Interzone – astutely compared with Horsepower Productions by Resident Advisor, and in heavy rotation with Mumdance – whilst Szare complete the squad with a distinctive, worldly take on UK bass/techno rolige, as heard in their 2014 album for Frozen Border, and on upcoming releases for Broken 20, Field and P13 by end of summer. Artists can be booked individually or as part of a label showcase.
rashad becker was born in 1970 owing to unprotected coition.
he was admitted to the fortress europe at age 12.
he grew up to be a certified emergency medical technician and ornamental blacksmith but went on dedicating his professional life to less usefull things.
since about 2000 he eats miso for it’s delicious taste and proclaimed health benefits.
since about 2002 he started loosing his hair.
currently his live sets evolve around the angle of `traditional music of notional species`, a semi-abstract synthetic narrative that seems appealing to a surprisingly wide audience.
Europe, UK, Asia, Australia: firstname.lastname@example.org
Signalling from the North of England, newcomer Rian Treanor re-imagines the intersection of club culture, experimental art and computer music, presenting an insightful and compelling musical world of interlocking and fractured components.
His debut EP ‘A Rational Tangle’ is a hyper-funky twyst on fwd UK dance music, a quartet of glass-cut, 150bpm hyper prisms released by The Death of Rave. It galvanises and accelerates garage and techno with cuttingly crisp tonal diction and a pointillist percussive palette, demonstrating Treanor’s adroit rhythmelodic instincts through a quicksilver syntax of kerned, polychromatic 2-step patterns and whipsmart, emotive jit music.
Whichever angle you view it from, ‘A Rational Tangle’ forms a rewarding introduction to the work of a very promising and distinct new voice in electronic music.
His ping-pong ballistic live performances dance from pendulous, aerobic minimalism to taut grooves with grid melting nous, yet at the same time its all blessed with a pop or ‘floor-ready” turn of phrase that takes new kinks, fills and twysts with each listen.
Russell Haswell is a restlessly forward-thinking, multi-disciplinary artist, performer and curator born in Coventry and currently based in Suffolk, England. With a background steeped in computer music, black metal, noise, techno, free-stye and solo improvisation, his practice is renowned for broaching the extremities of visual and sonic arts. He’s performed in noted live and HDJ [hard disc jockey] actions with Aphex Twin, Gescom, Pan Sonic and Masami Akita (Merzbow), among others, and worked with Florian Hecker on Iannis Xenakis’ UPIC system in their Haswell & Hecker duo, whose ‘Blackest Ever Black’ (Warner Classics) LP is widely considered a milestone of modern electronic music composition. Russell’s recorded work has also been published by a wide number of esteemed imprints, most notably the 8 track CD catalogue ‘Live Salvage 1997 – 2000′ (Honorable Mention, Digital Music’s, Prix Ars Electronica) for Editions Mego, but also for Warp, Downwards, and his OR label, home to world’s first MiniDisc release. Most recently Russell collaborated with Regis as Concrete Fence on the combustible ‘New Release’ EP for PAN Records, and is currently prepping a forthcoming release for Powell’s Diagonal Records and a forthcoming “hyper edit” collaboration with PAIN JERK.
Russell is also available for DJ bookings as Concrete Fence, with Karl O’Connor.
Sensate Focus is a project by Sheffield-based artist and music producer Mark Fell, responding to the musical structures, techniques, vocabularies and sounds present in a collection of house musics produced in North America around 1992-1994.
Through a series of records (released in conjunction with Editions Mego) and “live” presentations, Sensate Focus addresses the division of music into repeatable patterns of observable and fixed duration; the placement of percussive events at specific points within patterns to demarcate distinct levels of temporal division; the organisation and repetition of patterns to form larger “arrangements”; and, strategies by which layers of instrumentation are introduced and removed.
For Fell this exercise necessarily implies a response to the technological structures, techniques and vocabularies present in equipment within which they are constituted, and their functionality within specific social contexts.
Slackk is the boundary-shifting producer, samurai-skilled DJ, and co-founder of London’s influential Boxed club, alongside his peers and fellow visionaries, Logos, Mr. Mitch and Oil Gang.
Since the mid ’00s Slackk has been a crucial node in the UK’s variegated and celebrated grime rhizome, illustrating and exploring its mutable links with myriad dance musics via incendiary DJ sets and a slew of releases on Numbers, Planet Mu, UTTU, Local Action, and, most recently R&S.
He’s seen grime go several stages of evolution and mutation – from underground notoriety to mainstream success and back again (and again) – yet always held to a core of hard ‘n sweet, roadwise values, with weekly club rinse-outs showcasing up-to-the-second UK and international styles in e-f-f-e-c-t, and a regular radio show recognised as a valuable incubator of new talent.
Europe, UK, Asia, Australia: email@example.com
A Manchester-based crew including; four DJs, three producers and an MC, united by a love of soundsystem and street sounds.
Swing Ting began as a specialist radio show hosted by Samrai & Platt before becoming a party in December 2008. Since then the dances have moved to arguably the UK’s finest club venue, Soup Kitchen, where they take place every 3rd Saturday of the month. During 2012, residents MC Fox, Murlo and Joey B joined the fold.
Winter 2014 sees the inception Swing Ting label seeking to provide a platform to release fresh music from the family as well as from friends, peers and like-minded producers…
PlattManchester-based DJ and Producer forming one half of the Swing Ting production outfit. Originally hailing from West Yorkshire, Platt has garnered a reputation as an uncompromising, well-schooled selector. With a keen ear for a trunk-rattling jam Platt’s sets champion R’n’B, Rap, Garage, Bashment, Bassline or anything that combines or blends these styles.
SamraiManchester resident via the Midlands, Samrai makes up 50% of the Swing Ting production unit. His DJ sets take in x-amount of styles, always system-friendly with an emphasis on the soulful side of things. With solo releases on Keysound, Niche & Bump and UTTU already in the bag, expect more to come from the one like Samrai.
Joey BLynchpin of the Manchester scene for many years, Joey’s involvement in the city’s finest bashment – Hotmilk, sees him rated as one of its best selectors. His sets connect the dots between dirty south (please see his highly acclaimed Straight Swangin’ series), street soul, dancehall, afropop, soca and beyond with coherent, quick-fire juggling.
MurloProlific producer and remixer, Murlo can conquer any style he tries his hand at, with releases on the likes of Mixpak, Rinse & UTTU. So good when he played Swing Ting the first time, we had to add him as a resident. Expect his sets to take in dancehall, funky, r&b, grime & more; Murlo slays any and every dance.
FoxKingston, New York, Miami & Manchester are all places Fox has called home. MC, Singjay & Toaster, lover of dancehall, hip hop, garage, jungle and everything in between. Fox holds residencies at many first-rate clubs in the UK as well as being a sought after vocalist for his unique, versatility when he touches the mic. Previous collaborators include; Zed Bias, Dub Phizix, Mark Pritchard, My Nu Leng, Chimpo, Calibre, Marcus Intalex, Claude VonStroke & Brackles to name a few.
FLORENTINO, BRACKLES, TRIGGANOM & FAMOUS ENO can also be booked as part of a Swing Ting showcase.
TCF is the moniker of Norwegian contemporary artist and musician Lars Holdhus. His work explores themes of code, cryptography and musical composition through the use of visual, sonic, built and written concepts. Holdhus creates a world that draws references from musique concrete, hardstyle, hardcore, poetry and digital artifacts. His practice shifts between art exhibitions and performing music pieces. Some recent exhibitions included Look….No Hands at HHDM in Vienna, Access Speed at Vault in Berlin and Driving Fast Nowhere at Polansky Gallery in Prague.
The titles and descriptions of his work are written in cypher text, the key to which is hidden within the piece itself. The first release came out on YYAA tapes in 2013 and was made in a limited edition of 50 copies. His upcoming release on Liberation Technologies titled E4 15 C4 71 97 F7 8E 81 1F EE B7 86 22 88 30 6E C4 13 7F D4 EC 3D ED 8B further explores the cryptographic theme, consisting of digital and physical content containing the necessary keys to unlock the full meaning of the work.
William Gibson’s uncannily prophetic novel, Neuromancer, was the 1st in a set collectively known as The Sprawl. The same term also refers to a fictional Megatropolis covering the entire Eastern US seaboard in the books, and was also the title of a staggering, standout track on Mumdance’s pivotal Take Time EP.
The Sprawl is now also a noun for Logos, Mumdance and Shapednoise’s new collaborative trio, which was first conceived at Berlin’s CTM15 festival. They made their recorded debut with EP1, released in November 2015, of a rolling series to be archived by The Death of Rave.
Jack Adams aka Mumdance has been busy restructuring the DNA of grime and UK bass stylings for years now. Following early success with heavy-hitting low-end mutants, he revamped his style and started from scratch, using predominantly analogue gear for his own productions. In 2014, Mumdance and Logos founded Different Circles, a label dedicated to the future sounds of grime and the genre’s interfaces with bordering aesthetics borrowed from ambient to techno.
Logos is best known as a producer and DJ in his own right, and possibly the first to explore the disembodied, ‘weightless’ style of grime on his debut LP Cold Missionon Keysound Recordings. Alongside Slackk, Oil Gang and Mr. Mitch he is also one of the heads behind the seminal instrumental grime night Boxed.
Berlin via Palermo’s experimental techno auteur Shapednoise has made a name for himself by pairing eerie ambience in the tradition of the Italian horror score with industrial leanings on labels like Opal Tapes, Dominick Fernow’s Hospital Productions and his own Repitch Records.
Europe, UK, Asia, Australia: firstname.lastname@example.org
v1984, the Glacial Industries affiliate whose most recent release, ‘Becoming (N)one’, saw him provide what RA describes as “doom-laden bass” with “luminous melodies”, bringing to the table a devastatingly beautiful take on increasingly saturated genre most notably with the almost constant presence of the piano.
It is the piano that will form an integral part of his yet to be premiered live show, slated to be debuted in the first part of 2017 in conjunction with an EP to be released on a crucial label.
v1984 DJ sets encompass club workouts, instrumental obscurities and his now infamous edits, which have garnered widespread attention, both in the club and on radio.
Europe, UK, Asia, Australia: email@example.com
Valerio Tricoli (Palermo, Italy, 1977) is a composer and performer of electro-acoustic music.
Since the mid ’00 is main instruments for live presentations is the Revox B77 reel-to-reel tape recorder, used as a completely analogue / ergonomic device for live sampling and real-time transformation / editing / mixing of pre-recorded (field or studio recordings) and made-on-the-spot sound sources, the latter usually being vocalizations (including speech and singing), small acoustic and electronic instruments, objects, the amplified sound of the room itself in which the concert takes place and – in the case of group sets – whatever is produced by the fellow musicians.
On a formal level his sets focus on the impromptu creation of a narrative which takes into account the multiple relations intervening between reality, virtuality and memory during the acoustic event: sounds are always hovering between the “here and now” of the concert situation and the shady domain of memory – distant but at the same time present like in a deja-vu experience. Privileging fracture over continuity and by the use of a dynamic range that could often jump suddenly from near-silence to extreme blasts of sounds, an almost tactile feeling of brooding tension is often attained.
His electro-acoustic studio compositions, documented on few records, are aligned to the tradition of Musique Concrète and explore themes of the internal – represented both by the psychological and the physical – and of the occult, which together with the large use of spoken text makes them often deeply existential works, self-investigations of the psychological, emotional and irrational horror within.
His latest release “Miseri Lares” (PAN) has been described as a “album which reads like a story full of provocative signifiers which converge to create an allegory of unsettling beauty” (Mischa Mathys, The Formant).
Over the years Valerio has been active in some long-term collaboration with other musicians, composers, choreographers and multimedia artists. He is a founding member of the italian avant-rock group 3/4HadBeenEliminated and has been working extensively with Thomas Ankersmit, Antoine Chessex, Werner Dafeldecker, Anthony Pateras, Robert Piotrowicz.
Europe, UK, Asia, Australia: firstname.lastname@example.org
Vereker (Bath, UK, 1990) is DJ and producer based in New York City. He comes from a background in experimental electronic music before releasing more club oriented 12″s for labels such as LIES, The Trilogy Tapes, and Berceuse Heroique. His sound draws inspiration from the roots of industrial music, EBM, acid and techno which is equally reflected in his DJ’ing style. In late 2014 he established his own imprint, Endangered Species, as a vessel to release his own music and that of close friends and collaborators. 2015 saw the debut release from his Restraint moniker, a project heavily influenced by early power electronics and doom, creating a dark, disciplined and taut vision of modern industrial.
Europe, UK, Asia, Australia: email@example.com
Veronica Vasicka is a photographer, musician, DJ and founder of the epic record label and on-line music resource Minimal Wave. As one of the founding members of East Village Radio, she managed the station during its pirate days and began collecting obscure and long forgotten gems that fell somewhere between the Cold Wave, Post-Punk, Industrial and Synth-pop genres.
Not knowing what to classify these bands as, she coined the genre Minimal Wave and set up the website minimalwave.com as an online resource to share her finds with the rest of the world.
The response to the website was huge and shortly after its launch, Veronica began tracking these artists down and re-issuing their work on the Minimal Wave label. Most of these bands recorded extremely limited copies of their work in their basements and shared their work with the world via John Peel’s radio show and a handful of underground music mailings. The music released on the label ranges stripped down, D.I.Y. synth-pop to pioneering industrial electronics.
In addition to running Minimal Wave, Veronica launched the Cititrax label as way to expose newer synth-based acts. She DJs monthly in her hometown, New York City, and around the world, as well as every Sunday from 6-8pm ET on her East Village Radio show Minimal Wave.
She has released over 50 albums now, amongst them were two highly lauded compilations: The Minimal Wave Tapes: Volumes 1 and 2 which were picked up, released and distributed by Stones Throw Records.
Veronica’s DJ sets range from raw, danceable industrial electronic to cold wave fused with mutant house and underground techno. She likes to tell a story when spinning and to teach the crowd about the roots of electronic music. She has a fantastic talent for synthesizing her influences into an unforgettable night of dancing.
Europe, UK, Asia, Australia: firstname.lastname@example.org
ZULI is Ahmed El Ghazoly – a multi-instrumentalist, producer and sound artist from Cairo, Egypt – co-founder of VENT, a music-space-turned-club-night in Cairo with a sister night and record label based in London. ZULI has been a prominent figure in Egypt’s independent music scene for almost a decade now, with production credits that span from Post-Punk and Shoegaze to Hiphop and Techno.
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